Volume 5 ׀ Render: The Carleton Graduate Journal of Art and Culture

Cairn Cunnane’s Our Fence and the Public Art Program at the City of

By Sharon Odell MA Art History, Carleton University

Cairn Cunnane’s Our Fence (2016) was unveiled to beside it, in addition to more central viewable angles, of our daily lives. the public during an inaugural event at Ottawa’s Bingham that are traditionally experienced with 3D sculpture. Public art commissions in Ottawa often accom- Park on June 4, 2016, as part of the ’s Pub- Cunnane refers to Our Fence within his portfolio, as be- pany major capital projects. The PAP is a major contrib- lic Art Program (PAP). Situated in an outdoor landscape, ing both figurative and architectonic art.2 The latter de- utor to the Ottawa culture as these sponsored art pro- Our Fence is decorated with stylized trees that sprout out scription refers to Our Fence’s utilitarian purpose that jects become a visible part of the cultural fabric of the to heights of 11.5 to 13 feet at either side of the central viewers can easily recognize; an art work having a dual city. It has three objectives: maintaining public art dis- entrance gate.1 Created out of polished stainless steel, feature of a visually entertaining protective boundary plays, commissioning competitions for local artists and the metallic grey fence extends 225 ft., with long linear for children in Bingham Park’s playground, set beside growing the city art collection itself. Since the program ripple wave designs underlying vertical posts that are the busy traffic of downtown Dalhousie Street. has access to a percentage of the capital project’s total spaced 4 inches apart. The handrail height is 40 inches Our Fence can be considered an artistic inter- budget, new art commissions are planned for public above the ground, and detailed figures throughout have vention for the introduction of safety however, at the sites, and are awarded to an artist based on peer as- been executed in a variety of sizes within a mix of over same time its objective is to serve a larger audience sessment and the committee’s recommendation. Art- 10 grouped and individual poses. The grouped figures than Ottawa residents,. Its intention is to promote a works created within the program are also maintained are taller than the average adult spectator at 6ft 6 inch- tourist attraction of what artistic talent can be seen in for the future indefinitely, as they enter the city’s collec- es, generating a larger than life visual experience for chil- our city too.. Moreover, the intention is to create a tion. The mandate echoes the goals of many other Ca- dren viewing them within the park. They blend into the lasting experience for community residents who inter- nadian city art : the Ottawa art collection is fence with sections of flat curved sheets of metal and act with Our Fence on a recurring basis. Cunnane in- tasked with preserving Ottawa’s visual art culture for lattice-work stylized bodies. The smaller figures are more tended this art work to become a familiar landmark--a future generations within its specific community.3 freely executed as sculptures, giving a playful effect to representation of home and belonging--as well as a the overall piece and lending a surprise element to those Established in 1985, the mandate of PAP is to functional object that also defines the community’s who realize their presence. The figures are devoid of dis- support, collect and promote art and artists within the common space. This, by comparison, is in great con- tinguishing facial characteristics, allowing the average city of Ottawa and outlying areas. When complete, pub- trast to the traditional model of fine art display found person to imagine themselves in the figures; However lic art commissions become part of the city’s art collec- in most museums and galleries. The viewer in a gal- each is dressed uniquely with different style hats ground- tion.4 Using Cairn Cunnane’s Our Fence (2016) as a lery setting is not allowed to touch the art on exhibit, ed in the past, suggesting that the figures are meant to model, this paper will explore and discuss the PAP’s much less interact with and make it a part of their illustrate a story. The partitions divide the narrative, remi- mandate to purchase, commission and select artwork everyday landscape. Whereas, public art not only can niscent of an architecturally sculpted comic strip, visually from local Ottawa artists. Our Fence highlights the rele- be touched and interrelated with, it can be opened, consumed by viewers though the act of walking along vance of historical and contemporary public art, and can closed, explored and set to function within the course 2 ׀Cairn Cunnane’s Our Fence׀ Volume 5 Odell ׀ Render

be seen as an effective case study from which to exam- are popular because they serve that practical dual perative to understanding the function and meaning of ine how the many ways the PAP benefits the city of Otta- function. again sometimes taking the form of a bicycle Our Fence. wa, on many cultural levels for local residents, local art- rack, bench or in this latest example a fence. Situated in ’s Byward Market, ists and for the preservation of local history. Today, the program has nine full-time employ- Bingham Park is the oldest area of the city. Since its Our Fence is a significant example in the city of ees with some of these staff members also working 1826 inception, Village (as it was formerly known) Ottawa’s collection, since the mid 1980’s when the as- within part-time roles. These projects often involve was settled by residents who moved to the area to con- semblage of art for the city expanded from its initial do- maintaining art installations at over 150 public sites struct the . During that time, the city was nations and commissions to an official acquisition across Ottawa library branches, community centres, divided geographically, with Upper Town to the west of budget. This is when PAP began to prioritize the growth parks and City Hall displays for residents.6 As a result, the Rideau Canal (now called ) and Lower of its collection known presently, with direct purchases the PAP exhibits local art to the public, while also Town to the east (now called the Byward Market). Cun- from local Ottawa artists. Today, the program houses, building a stronger art collection for the city. As a gov- nane’s art installation is located within Bingham Park’s distributes and maintains collected art for the city of ernment-funded organization, PAP must follow the perimeters of Sussex Drive, Clarence and Rideau streets Ottawa comprised of more than 2,500 artworks created city’s guidelines and policies. Nevertheless, there is and the Rideau Canal. The park’s front entrance opens by over 700 artists.5 These artworks are chosen for some degree of creative liberty allotted within pro- onto Dalhousie Street, which stretches between Cathcart their ability to be displayed in multi-purpose, publicly- jects. For instance, the commissions committee initi- Street and Bolton Street, near the Bruyère Hospital. Be- accessible spaces within offices and corridors of Otta- ates competitions for artist proposals that require fore the construction of the Rideau Canal from 1826 to wa’s network of buildings. Initially part of the program, individual assessment depending on the plan and the 1832, this swampland was densely settled by two-thirds the Karsh-Masson Gallery eventually became the offi- location. Once a location has been chosen, the artist of the Bytown population. The residents consisted of cial city gallery that serves as a space for annual exhibi- proposal is vetted by an assessment group of three or poor, primarily Roman Catholic families, mostly of Irish tions which highlight the collection. This gallery also more Ottawa residents who are visual art related pro- and French background. In contrast, Upper Town was set- assists local professional artists with exposure by show- fessionals within the city, or have other pertinent at- tled by a relatively wealthy British Protestant minority. casing exhibits of their artwork in order to disseminate tributes to the assessment process. This team evalu- ’s population changed little over the next cen- knowledge about them to the public. The gallery compo- ates the proposal in accordance with the PAP’s aim to tury, and in 1951 over 10,000 people were living in the nent of PAP supports, provides and promotes the exhi- develop an open and creative culture in Ottawa. Byward Market and surrounding area.8 The 1960s saw bition space by hosting emerging and established local, the beginning of a massive population decline as families Cunnane’s Our Fence is an excellent model of national and international artists and partners with moved to new suburbs. In addition, a policy of urban re- how the PAP handles art commissions. Inaugurated in graduate students. Art talks, performances, and other newal resulted in the eviction of many residents, whose late spring of 2016, this specific work provides insight collection-related events for the public also occur in homes were subsequently torn down. In 1986, the popu- into how such projects are developed in light of their connection to the exhibitions. Exhibitions are proposed lation was approximately 3,000. In contrast, today Lower historical context and chosen site. Moreover, Cun- by artists, curators, embassies and arts institutions. In Town’s population is trending upwards again as new con- nane’s recollection of the call to artists was that the addition, the PAP sponsors a third section of commis- dos are built in the area.9 Moreover, the Byward Market “public art for Bingham Park would need to integrate sioned art that is collected and displayed within a varie- has transformed itself into one of the city’s top tourist visually with significant elements that could provide ty of Ottawa’s public sites. These include community attractions, surrounded by a thriving community awash identity and specific characters to the space, consid- centers, city buildings, roadways, transit way and parks. with heritage buildings, eateries, shops and entertain- ering the rich location of its history.”7 Therefore, Public art installations such as Cunnane’s Our Fence ment venues.10 knowledge of Bingham Park’s past accounts are im- 3 ׀Cairn Cunnane’s Our Fence׀ Volume 5 Odell ׀ Render

Coincidentally, the competition for a commissioned ing a consultation process with the PAP in 2013. Once and evaluating submissions, in regard to its overall artis- Bingham Park fence was initiated by the Lower Town the consultation was complete, the funding for the plan tic look, its connection or sensitivity to the surrounding Community Association (LCA), a community association was re-allocated from the Sussex Avenue Reconstruc- community, and its rating upon its designed safety and that shares the same building as the PAP office, within tion, to that of PAP for the Bingham Park revitalization. durability. After much deliberation, Cunnane was award- the Routhier Community Center. The LCA is a committee A budget of $160,000 was determined in addition to ed the public art commission for Bingham Park, by the that discusses community matters that effect Byward HST costs that were also covered for the plan. This peer assessment committee. His submission plans for Market residents, businesses and government institu- amount included all design, fabrication and installation the Bingham Park fence were accepted based on his ar- tions. This zone ranges as far as the to the project costs.12 A call for artists was disseminated via tistic excellence and experience as an artist, site integra- north, Sussex Avenue to the west, the Rideau River to the the City of Ottawa PAP mailing list and the local out- tion of his idea, reflection of the profile and character of east, and Rideau Street to the south. The association reach Art Engine website. the community, and sustainability.14 meets once a month every second Monday to discuss Cunnane is an accomplished metal sculptor and topics surrounding the Lower Town Byward Market, which Due to the complexity of the reconstruction, a two- blacksmith, who mixes traditional forging techniques with include heritage, environmental and planification is- stage public art competition was developed for the modern technologies. Since he had undertaken many sues.11 When LCA originally initiated the commission, the fence, and the first call for proposals went out in Janu- sculptural projects in Ottawa, including work at Rideau association was in the midst of undertaking revitalisation ary 2014 with a submission deadline of February 18, Hall and at , he was awarded the Bingham plans to renew the Bingham Park playground. This plan 2014. While the selection committee received twenty- Park commission.15 Immediately after the proposal’s ac- involved refreshing existing structures that had not seen eight artist submissions and several viewing comments ceptance he began to realize the plans with which he had attention for nearly thirty years and the development of a from the public, the committee did not select any of placed as a preliminary proposal. Once these drawings gardening committee to improve the landscape design these proposals. Instead, they decided to reissue the were approved as part of the initial stage of the project, within the park, expanded to include the replacement of opportunity to artists again in May 2014. Among the he began working on a maquette as part of the second picnic table areas. During the landscaping improvements, twenty-four submissions received from the second stage. By the third stage, he started constructing the the poor condition of the chain link fence, and lack of it in round of applications, shortlisted artists chosen were fence itself. All this was created from his industrial studio areas became a concern for the LCA. This was especially Detlef Gotzens, the teams of Michael M. Simon and space in Nepean featured by the Artist-Blacksmith Associ- true for the sandbox area and playground abutted against Studio F. Minus, Tim des Clouds and Cairn Cunnane. ation of North America in their Spring 1996, Winter 2001 the busy traffic of Dalhousie Street. These artists also presented detailed sketches and and Summer 2003 issues, and in the winter 2010-11 plans to the public at a Routhier Community Center issue of the Metal Arts Guild. Cunnane has also exhibited It was out of this necessity for a fence that open house that also took place in June 2014, in which metal sculpture at the International Caniron Conference prompted LCA member Sylvie Grenier to propose a crea- the public was asked to submit comments on the artist at McMaster University in 2003, and in Victoria in 2007. tive alternative to the chain link fence. This idea was also proposals. These comments from the public in turn In addition, he teaches the artisan blacksmithing as a brought forth during the revitalization of the site which helped inform the jury’s decision.13 craft within a mentorship program for the Ottawa School would include new playground equipment in an attempt The committee, named the Bingham Park Pub- of Art, while exhibiting his work in solo and group exhibi- to enhance the character of the park for families, and to lic Art Jury, was comprised of artists with public art ex- tions.16 His art is presently collected in both private and strengthen its identity within the Byward Market commu- perience Sylvie Grenier, Jason Grant-Henley, Michael public collections. nity. This idea also originated from another fence project Kinghorn and Andrea Stokes, as well as Renee Pro- that had been proposed for Sussex Avenue. After several teau, a Parks Planner of the City of Ottawa. This same Cunnane’s method of shaping, forming, and dis- LCA meetings the idea for a fence was approved follow- committee was given the responsibility of reviewing torting metal allows him to explore crossovers of architec- 4 ׀Cairn Cunnane’s Our Fence׀ Volume 5 Odell ׀ Render

tural and functioning object design with figurative, plant ed as a fluid collage of welded objects and forms in- fabrication, welding and installation.21 and other forms of artistic sculpture. These sculptures spired by themes of community and connections. Not are individually unique with an array of differing details only are these benches functioning seats, they are also Therefore, Cunnane’s artwork is informed by the history that when visually combined as a whole reflect the com- distinctive works of art. Likewise, Our Fence is a func- of Ottawa’s past and present Lowertown community, as munity as client and the intended space, that of a cultural tional work of art: it protects the Byward Market com- to what images he decided to incorporate in Our Fence. landscape. Often his artworks are made of metal consist- munity children and families in the Bingham Park play- However, he also was cognisant to the nature of his ma- ing of bronze, stainless steel, aluminum and other materi- ground, from the street traffic on which it borders. Dur- terials, that being steel and metal, of which he then als.17 Moreover, the art he makes can range from hand- ing a recent interview with Cunnane, the artist reflected shapes in order to adhere to a functional design. Due to held to large installations. Cunnane explains his process on why he decided to compete on the competition: some of the limitations of working with metal, he starts in the following statement: with a complex idea, such as environmental sustainabil- I first heard about the PAP commission competition ity, and renders it into simple forms, so that the initial from my mailing list or Art Engine website. From I’m exploring the awesome uncontrolled subcon- intentions of what he is creating is not misplaced or ab- there I was interested the competition because I scious forces and expressions that are released in sent. Cunnane maintains this process for all 200 feet of thought it was a great opportunity to develop some the moment of glowing red heat and unleashed his sculptural fence that borders the eastern edge of of my concepts into a significant art piece that physical energy without time to be filtered by Bingham Park and curves around the existing trees and would relate to the community.19 thoughts. The results reveal a connection to my hedges. The stainless steel design and stated earlier jagged distorted path to enlightenment. Presently I Cunnane also indicated that “after he read the history incorporates a flowing path or river and features express figuratively with an architectural connec- of the Bingham Park and Lower Town area of Ottawa thought-provoking groups of abstract overlapping fig- tion that’s influenced by explorations of the Far … he saw a lot of interesting events and people which ures and simple tree form patterns.22 When Cunnane East. I use ancient blacksmith techniques mixed changed the area dramatically.”20 This motivated him was asked if any other changes in the fence occurred with state of the art methods. Most of my work is to include a reference to a variety of historic hats that during its development, he replied:

created by forging. Unlike casting where a mould is would have been worn during the park’s initial open- Yes. After having completed much of it they decided made and metal poured into it, I heat the metal ing in 1898, of which he references to in the composi- to do some test holes for the sonotubes. In order to and work it directly, instantly for each brief moment tion of Our Fence. Cunnane mentions that this is: save tree root damage, some sonotubes were it is glowing hot enough to manipulate. It begins A way to connect to the many different people moved, others changed in size, and others removed. with an idea that is transformed by the unpredicta- that lived here, or did in the past, or were affected The gate section was moved 600mm closer to the bility of the forces applied and the control of them, by the area. I wanted to create a feeling of all- street. Another section that curved into the park had to lead to expressions that reflect something I have inclusive so that everyone has a place on equal to be straightened out because of a newly installed done but cannot plan. It allows a connection to the footing. Some of these ideas of inclusion came retaining wall. At the Bolton St. end there suddenly sense of mystery we feel around us.18 from the advice of Ottawa residents Maurice Hol- appeared a large (now permanent) electrical box Our Fence can be compared to another recent project loway (age 94) and Mike Shaw (age 75) …by directly in the fence line. (The fence now does an that Cunnane produced for the Ottawa Overbrook Com- working with them once a week to receive critical “S” curve to accommodate this intrusion while keep- munity Centre, in which he created two sculptural bench- feedback, in addition to my wife Maria’s input. ing the essential feel of the piece). One by one the es that represent environmental sustainability. These Three younger apprentices Jesse Frois, Alex Ca- issues were accommodated while the concept in- 23 whimsical benches were shaped from collected, recycled, bral and Mike Tunstall also assisted me with the tact. rescued, found and donated materials. They are present- 5 ׀Cairn Cunnane’s Our Fence׀ Volume 5 Odell ׀ Render

Cunnane’s artwork Our Fence is not only an example of surroundings to convey this. For example, through the 16. Figureworks “Artists: Cairn Cunnane”, http:// www.figureworks.org/cairn.html, sourced June 20, 2016. how the city of Ottawa’s Public Art Program supports the sculptural ripples of water which flow along the fence, 17. City of Ottawa Public Art Program, “File Pro Maker Catalogue Record, 2011-0006: Connections” (Bench), 2010-2011”, creativity of local artists, but how it also stands as a re- referencing nearby rivers, and also through tall majes- March 28, 2012 minder that preserving our cultural history within the city tic trees as a homage to Ottawa’s past mayor Samuel 18. Figureworks “Artists: Cairn Cunnane”, http:// www.figureworks.org/cairn.html, sourced June 20, 2016. is fundamental towards its growth as a cultural hub and Bingham. Playful figures in stainless steel overlap one 19. Cairn Cunnane (Ottawa Blacksmith Artist) in e-mailed interview identity. On 4 June 2016, Our Fence was officially un- another, creating patterns and layers that connect the correspondence with Sharon Odell, 7 Sept. 2016. 20. Ibid. veiled to the public for their enjoyment. Cunnane echoes many generations who have come and gone within and 21. Ibid. this intention, stating, “it’s not just a fence or rigid bound- around this cultural landscape. As a whole this artistic 22. City of Ottawa Public Art Program, “File Pro Maker Catalogue Record, 2016-0004: Our Fence (Fence) 2014-2016”, June 14, ary it’s an inspirational community story with a practical intervention is not only a lively addition to a nearby 2016. use. I like art that’s public and accessible. Functional playground, but a distinctive picturesque working 23. Cairn Cunnane (Ottawa Blacksmith Artist) in e-mailed interview correspondence with Sharon Odell, 7 Sept. 2016 pieces that are used and touched as part of life are im- boundary that keeps all who visit Bingham Park safely 24. Ibid. portant today since the divide between the art world and inside its gates. general public is so wide.”24 Bibliography Notes Bytown , “Lowertown-Basseville: Introduction”, http:// Rather than displaying an artwork for an audience 1. Sylvie Grenier, key note presentation at the Ceremonial Open- ing of Cairn Cunnane’s Our Fence in Bingham Park, Public www.lowertown-basseville.ca/introduction.html, sourced separate from its intended use, or within the confines of Arts Program, City of Ottawa, 4 June 2016 28 Sept. 2016. 2. Cairn Cunnane: artist, blacksmith, sculptor, http:// an art museum space, the PAP has successfully achieved cairncunnane.ca/category/portfolio/figurative/, sourced 13 Cairn Cunnane (Ottawa Blacksmith Artist) in e-mailed interview its objective through Our Fence to commission an art- July 2017 correspondence with Sharon Odell, 7 Sept. 2016. 3. Public Arts Program “Art Collection: About the Collection”, work that strengthens a local art network. This particular http://ottawa.ca/en/residents/arts-heritage-and-culture/art- City of Ottawa “Backgrounder: Public Art for Bingham Park Bul collection, City of Ottawa, sourced 8 Aug. 2016. letin” Public Arts Program, May 2016. installation has also positively contributed to the experi- 4. City of Ottawa “Backgrounder: Public Art for Bingham Park City of Ottawa Public Art Program, “File Pro Maker Catalogue ence of Ottawa tourists and residents. Our Fence cer- Bulletin” Public Arts Program, May 2016 Record, 2011-0006: Connections” (Bench), 2010- 5. City of Ottawa “Public Arts Program Brochure” Public Arts tainly elicits a response from those who interact with it Program, distributed August 2016. 2011”, March 28, 2012. on a daily basis, creating a lasting impression. As a re- 6. City of Ottawa “Art Collection: About the Collection”, http:// - - - - -, “File Pro Maker Catalogue Record, 2016-0004: Our ottawa.ca/en/residents/arts-heritage-and-culture/art- Fence (Fence) 2014-2016”, June 14, 2016. sult, this artwork succeeds in four ways. First, it provides collection, sited 8 Aug. 2016. exposure for the local artist. Second, it celebrates the 7. Cairn Cunnane (Ottawa Blacksmith Artist) in e-mailed inter------, “Public art celebration – Our Fence by Cairn Cunnane”, view correspondence with Sharon Odell, 7 Sept. 2016. www.facebook.com\public.art.ottawa, June 1, 2016. history of the park itself. Third, it markets the Public Arts 8. Bytown Museum, “Lowertown-Basseville: Introduction”, http://www.lowertown-basseville.ca/introduction.html, City of Ottawa “Public Arts Program Brochure” Public Arts Pro Program. Lastly, it maintains the safety of families by sourced 28 Sept. 2016. gram, distributed August 2016. providing a functional separation from busy traffic all 9. Ibid. Figureworks “Artists: Cairn Cunnane”, http://www.figureworks. 10. Ibid. while being tastefully designed to preserve the historic org/cairn.html, sourced June 20, 2016. 11. Lower Town Community Association “Introduction and Man- story of the Byward Market. This being an area that is date”, http://www.lowertownbasseville.ca, sourced June 20, Karen Bingham “Samuel Bingham: Mayor of Ottawa 1897-98”, 2016. now the city of Ottawa as we know and live within today. http://www.bytown.net/binghamsamuel.htm, Bytown 12. Public Arts Program “Ottawa Public Art Program presents a Net, sourced July 15, 2016. PUBLIC ART OPPORTUNITY FOR ARTISTS Bingham Park”, City Cunnane created Our Fence to welcome visitors en- of Ottawa, 24 January 2014 Lowertown Community Association: 2015 Annual Report “Map tering the Park through his public art. This inspirational 13. Sylvie Grenier, key note presentation at the Ceremonial Open- of the Byward Market (Lowertown)”, http://www.lower ing of Cairn Cunnane’s Our Fence in Bingham Park, Public townbasseville.ca/uploads/4/2/5/9/42591915/ sculpture also transforms this corner of Lowertown Otta- Arts Program, City of Ottawa, 4 June 2016. lca_2015_annual_r eport_2016_agm_web_version.pdf, 14. Ibid. wa into a playful view on local history, while being situat- June 13, 2016, p.10, 24. 15. Public Art Program “Bingham Park Public Opening Ceremony ed in the same area. Cunnane utilizes the parks natural Scenario”, City of Ottawa, Saturday 4 June 2016. 6 ׀Cairn Cunnane’s Our Fence׀ Volume 5 Odell ׀ Render

Lowertown Community Association “Lowertown Community Association 2015 Annual Report “TitlePage”,http:// www.lowertownbasseville.ca/uploads/4/2/5/9/42591 915/lca_2015_annual_report_2016_ag m_web_versi on.pdf, June 13, 2016, p.1.

Lowertown Community Association “Introduction and Mandate” http://www.lowertownbasseville.ca, sourced June 20, 2016.